Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kuwait and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1977.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Philadelphia kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lightning Bolt to the jazz kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Television Personalities. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Radio Birdman,
The Red Krayola,
Fifty Foot Hose,
Black Moon,
John Foxx,
John Coltrane,
Jeff Mills,
Soft Machine,
The Flesh Eaters,
Bobby Byrd,
Icehouse,
Donald Byrd,
Angry Samoans,
The Durutti Column,
Warren Ellis,
the Normal,
48th St. Collective,
These Immortal Souls,
Young Marble Giants,
Red Lorry Yellow Lorry,
Rosa Yemen,
Index,
Monolake,
Maurizio,
Robert Görl,
The Electric Prunes,
New York Dolls,
Hashim,
Underground Resistance,
Eli Mardock,
Make Up,
The Busters,
The Last Poets,
Masters at Work,
Donny Hathaway,
The Pop Group,
Cybotron,
Soul II Soul,
the Human League,
Yusef Lateef,
Magazine,
AZ,
The Barracudas,
David McCallum,
Sexual Harrassment,
The Velvet Underground,
Youth Brigade,
Letta Mbulu,
Janne Schatter,
Idris Muhammad,
The Searchers,
Interpol,
Magma,
R.M.O.,
Glambeats Corp.,
Dennis Brown,
Ash Ra Tempel,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.